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Full text of "Words Carved into My Head #1"







THE DEFINITE MOUTHPIECE INTERVIEW 

PLUS= PICTURES GALORE, TOWARDS A BEFIHITIOMOF TEE OLD 
SCHOOL, WHAT REMAINS..., SOMETHING MUST BE DOME, REVIEWS 







A FANZINE DEDICATED TO MOUTHPIECE AND OLD SCHOOL STRAIGHT 





Welcome to the first issue 
of Words Carved Into My 
Head Fanzine, we never 
thought it would be this 
big... The idea for this 
2ine was spawned during the 
Onward/Mainstrike ' 95 tour 
after an intense 6 hour 
"tongue in cheek" dicussion 
on old school and 
Mouthpiece with certain 
individuals on the bus. The 
"riots" continued, the idea 
grew, and after a 
decided to make 
serious project. 
and straight edge 
important roles 
lives, but these 
of the things we 



while we 

this a 

Hardcore 

play such 
in our 

days alot 
feel is 



the most important and 
vital are simply looked 
down upon. Mouthpiece was 



one of the few bands who 
really tried to keep the 
spirit of real hardcore 
alive and together, and was 
thereby maybe the most 
important band of the 90s. 
Alot of shit have been 
said, and a proper 
appreciation of their 
effort is way due- Inside 
you'll find an interview 
that is, to us, inspiring 
to say the least and really 
expresses some thoughts we 
have on the hardcore scene 
of today. There ' s also two 
articles that expresses 
some of our ideas more in- 
depth . There * s Amdams 
experiment, "What 

Remains . . . " r somewhere 

between fiction and prose, 
and of course pictures, 



pictures , pictures . 

Opinions that appear in 
Words Carved, all of them, 
are reflective of the ones 
held by the editors. So if 
you have any reactions to 
it, please let us know. 
Criticism is healthy. As it 
looks now, we'll put out 
another issue in the 
future, and hold your 
breath-it will contain 
quality stuff -This last 
week, during the h.a.r.d. 
layout-sessions, we also 
added a third member here 
at Words Carved Into My 
Head: Arne Olav Haabeth*3 
is family* 

OK, stand tall, stand 
proud, stand hard, bringin* 
back the spirit of ' 88 . . . 
Peter, Peters Arne Aug 10 



THANKS: Tim McMahon, and the rest of Mouthpiece, Traci Bergman, Erlend Larsen, Stefan 
Grabowski, Brett Hardware, Eskil Vogt, Dave Mandel, Steve Tension Building, FloorPunch, Espen 
and toette, Trond Ssttem, all the MainstriAe guys, Jay, Plagued With Rage (RIP), Pat of 
Fasttoreak, Halfaast, Nick Third Party, Spawn, Patrick Kitzel(Go Vegetarian! ) , Michael 
Mulierf better listen to some old school hardcore!), Daniel, Ollie' Andersen, Anne Mette, the 
f" rvive . Deat f tour crew. Close Call, Rectify, Contention, Sportswear, Onward, Krishna's Cuisine, 
SK, Jolt Cola, Coke, The Nike Company, Champion, Fred Perry, Lacoste, Ralph Lauren, Boiling 
Point, Schism(scrxpture) , Smorgasbord, Open Your Eyes, Youth Of Today, BOLD and the 
Schism bands . . . 



PRESENT STUFF: 

Chain Of Strength 'The One Thing That Still 

Holds True 1 LP 
Circle Storm 'Spirit* EP 
Mouthpiece all 

Rectify * How We Feel' EP+ advance for new EP 
Statue 'Something To Say' EP 
Mainstrike 'Times Still Here' EP 
FloorPunch demo 

Ignite 'Call On My Brothers' LP 
Fastforeak EP 
Half mast ' Together ' EP 
Redemption 87 "About Face" 

OLDER STUFF: 

D . Y . S . • Brotherhood ' 12 " 

Wide Awake EP 

BOLD 'Speak Out' LP 

Project X EP 

Judge 'New York Crew* EP 

Youth Of Today all 

Faith 'Subject To Change* 12 

G.I* 'Make An Effort' EP 



PETER AMDAM 



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SS Decontrol *Kids..'+ 'Get It Away' 12" 
Antidote 'Thou Shalt Not Kill' EP 
Gorilla Biscuits all 

Bl'ast! 'Power Of Expression' LP 
Fed* Up 2 demo 

Brotherhood 'Words Run...' 12" 

Abusive Action demo 

Pushed Aside demo 

This Is Boston Sot LA comp. LP 

Together comp. EP 

Abused 'Loud And Clear' EP 

Release 'The Pain Inside' EF 

POP TUNES FOR TEE SUMMER: 

Louise 'Naked* LP 

Paul Weiler LPs+ 'peacock Suit' EP 

Kylie Minogue 'Where's The Peeling* 12" 

Electronic 'Raise The Pressure' LF 

Small Faces all 

Spice Girls 'Wannabe' 

MonaLisa * Bailando* 

The Jam "Peel Sessions" '77 

Oasis 'What's The Story?...' LP 

The Who early stuff 

Colour Scene ' Moseley Shoals* LP 



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NORWAY 



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PETER HOEREN 
KAI SERF ELD 98 
46047 OBERHAUSEN 
GERMANY 



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SOMETHING MUST BE 
DONE- 
RIGHT NOW. 

Hardcore has shaped my ideas i n 
alot of ways. It has put mc in the 
position to do things myself in a 
positive and a constructive way. 
The slogan "Do It Yourself still 
means a lot to me. As I see it, it 
means standing up for yourself and 
be as outspoken about your 
convictions as possible. I know- 
that alot of kids can't relate to the 
slogan, but in my eyes they've lost 
or missed certain things anyway. I 
wish kids would study what hardcore 
in the past was all about. The past 
is-the solid foundation for the future 
of hardcore. Check out bands like 
SSD, DYS, Minor Threat, Void, 
Faith, Iron Cross( "Crucified" i s 
originally by Iron Cross and not 
AF- Michi, now you know!), Deep 
Wound, Jerry ! s Kids, SOA, 
Untouchables, Artificial Peace, Fix, 
Necros, Larm, Indigesti, Ripcord, 
Heresy, Negazione. 

Too many kids in hardcore today 
are apathetic, complacent and don't 
help out or contribute to their 
scene. M.A.D./Lost & Found/ Over 
The Edge amongst others promote 
this kind of mentality. I wish kids 
would do more themselves by 
starting bands, zines, putting up 
shows and supporting their own 
local scene. Remember that the 
Boston/NYC DC scenes were not 
created in one day. It took a long 
time and lots of effort to build a 
scene with that kind of potential. 
Make your own scene (strong). 
Make it fuckin work. 




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Another thing... almost every kid seems to be straight edge in the scene 
today, but no one is willing to speak out about it. I am fuckin proud to be 
straight edge and I let people know it. Today there is a lot of moderation 
concerning straight edge - and I don't like this way of thinking at all. I 
only have a very few friends that aren't straight edge simply because only a 
few can respect my attitude towards alcohol and drugs. I want to live my life 
in full control, if people can't respect me for that I won't hesitate to fight 
them - be it verbally or physically. My point is that I don't like this 
mentality that says: "if you drink that's OK- you're an alright guy too". 
That's not the way I see straight edge. When I found the edge back in '88 I 
got alot of shit for it. I had to fight for my beliefs. That's why I X up, to 
separate myself from the weak minds with whom I have nothing in 
common. Kids today are apathetic and complacent... as I said above... 
what are you really fighting for? You'd better get some goals..., damnit. 
j I know that I will continue to keep hardcore and straight edge alive. I'll 
never settle down, I'll never moderate my beliefs and I'll never compromise 
and I'll never give in to your complacency. We started this fanzine up to 
bring back the spirit... we just might have to take it back! Better watch out. 

Peter Hoeren (spring 1996) 






MOUTHPIECE photo: S. Gunhouse 



TOWARDS A DEFINITION OF 
THE OLD SCHOOL. 



/ remember all the things that you said. 

Ray Cappo. 




As the recurrent theme of this fanzine is 
"old school hardcore" I thought it necessary to 
elaborate on the term and our use of it. Firstly, 
I want to limit this discussion to the hardcore 
scene, and even more specific, the "straight 
edge related" hardcore scene, and this is, as 
you should have noticed by now, the scope of 
this zine. Not punk, skate, metal, hip hop or 
any thing like that. Besides, what interests me 
is after all the straight edge, that's hardcore to 
me. 

So who's talking about "schools"? 
There's some implications by this word. First, 
there's the obvious, but hidden, allusion to 
education, learning. "We come here to learn" - 
Hard Stance. Then there's connotation to 
continuity, and graduation, a specific line, 
department, "he graduated from the old 
school". So by "school" one learns, but one 
also learns to teach away, to pass on, the 
knowledge or the art. Here I am approching the 
central argument of WCIMH fanzine. The Old 
School of hardcore is a line of hardcore, a 
specific strand of hardcore, that may run over 
periods of time. A strand of hardcore that in 
some way share a common curriculum, ideas, 
and style(the school uniform, the emblem, the 
motto). With some sort of shared legacy that 
lives on, even though the school has to relocate 
to new buildings etc. This means that it is 



possible to be "old school" or to be into it, or 
to play old school hardcore in 1996. The 
temporality of the term is not one designating a 
specific reified has- been, historic relic, or dead 
past that can never again be evoked. The 
temporality of the term designates the tradition 
or strand of hardcore that one can trace, albeit 
in a barren, stuttering (like a broken record, 
indeed), discontinous way to a past gone and 
still to come. This means that the distinction 
between "new breed" and "new school" should 
be clearly marked. "New breed", the word 
breed implies re- creation, re- invention, re- 
enforcement, re- discovery, a re- petition. Also 
rememberance? And indeed family. While 
"new school" in this case is more a break, re- 
definition, a new line of ideas, style and 
curriculums. In the case of this fanzine then i. 
e. Mouthpiece will be an old school band, even 
though they were not around in Boston '82 or 
whatever, because Mouthpiece then represents 
a new breed, a new point in the line, a "dotted 
line", of hardcore that we'd like to think of as 
"old school". 

Having now sketched out the 
temporaltiy of the term "old school" it's time to 
say something about it in a more concrete 
fashion. As I said above the tracing of the 

old school is not always a dynamic, symmetric 
enterprise. But in short one could talk of to 





















periods when it peaked so to speak. The first 
will naturally be around '81- '82, with bands 
like SSD, DYS, Impact Unit, Negative Fx in 
Boston and their DC counterparts like Minor 
Threat, Void, Faith, Double- O and so on. 
Although these bands differ in many aspects 
and not all of them were "straight edge bands" 
a certain kind style evolved, a defining and 
sharpening of a certain hardcore sound, 
attitude, packaging and image (and image is not 
meant derogatory or negative here). Fast, hard, 
driving music, a no- nonsense, straight 
forward and solid hardcore, power and energy. 
Rather a simple crunch than rockish post- 
punk. I am not writing a history of hardcore 
here, and my aim is coming to terms with the 
old school concept rather than giving an 
historical account. Anyways, in my opinion, 
the two records that epitomize this spirit is 
SSDs "Get It Away" and "Brotherhood" by 
DYS. Also in the wake of this, there was 
Negative Approach and NYC bands like 
Abused, Cause For Alarm and Antidote. A lot 
of hardcore bands were of course around at 
this time, but there is some kind of bond that 
links all these bands together perhaps in an 
obscure way. If this link is something imposed 
on them in aposteriority does not weaken my 
theory, rather vice versa. 

However, as I said earlier on, this line 
of hardcore is one of discontinuity, and at 
Jerry's Kids farewell show in Boston 12-15- 
84 Springa (that's of SSD, if one of you 
Snapcase fans didn't know) declares hardcore 
dead. A man that really set out to revive it was 
Ray Cappo. With Youth of Today the school 
I'm trying to define here is becoming more 
defined, developed, and a certain aesthetic, and 
ethics, is becoming apparent. Now alot of you 
will say that Youth of Today was then new 
school, but this is not what they did think 
themselves or what Youth of Today got 
described as. In Thrasher magazine november 
1987 Mike Gitter interviews Youth of Today 
and I hope you excuse me for quoting rather 
large parts of it : 



"So Ray," I [Mike Gitter] ask, "what 
exactly do you say to people who claim 
that Youth of Today is doing absolutely 
nothing except rehashing their hardcore 
influences?" 

"No one else is doing solid hardcore 
anymore. When we started the band we 
were upset because we love hardcore and 
we played it true and sang lyrics straight 
from the heart. The kids loved it, and 
now it seems like hardcores in a rebirth. 
It's stronger than ever and definetely 
something new, not at all a rehash. We 
play 1987 hardcore which is different 
from 1982 hardcore, but, still, it's 

hardcore, [my emphasis] 



I guess this speaks for itself. With Youth of 
Today a whole scene across the US prospered 
and also later Europe. And '87- '88 is a golden 
age of this style. And here's an important 
point, it was not just music. It was an attitude, 
a heightened emphasis on straight edge, a 
certain style of packaging, owing much to the 
SSD artwork (by the way, check out the new 
Mouthpiece 7" and shirts), big, bold (pun 
intended) logos, singalong pictures, poiting 
fingers, pile- ons, X's etc etc. Even a dress 
code, the Youth Crew style, trainers, clean 
shorts, Champion hoods, even Fred Perrys, 
and Vans as seen worn by Ian MacKaye or 
Nikes as seen worn by Al SSD on "Get It 
Away". There's alot of links towards the early 
days, it was a revival, and a re- definition, 
sharpening. Even band took their names from 
old songs, the "Youth" in Youth of Today, 
Brotherhood, Circle Storm and so on. And 
musicwise, I guess you know what I am 
talking about, pure, "generic" hardcore, 
songs... verse- chorus- verse- chorus mosh 
etc. singalongs, go!s, simple riffs full of 
energy. And also note that this was a rebellion 
against the takeover of metal core and rock, a 
situation analogous to that of today. This was 
the 2nd generation of solid hardcore, no doubt. 
And if we want to draw parallels up to today 
Mouthpiece and the like will be a "3rd 
generation". Porcell says in Jersey Beat fanzine 
no. 37 (in an interview conducted by Tony 
. Rettman, who fate has it also wrote the 
Mouthpiece article for Thrasher) and again, I 
will quote in exstenso: 



I can see it as a second generation ... like 
back when when me and Ray got into the 
scene, we loved Minor Threat. We loved 
SSD, we loved DYS, we loved all of 
them, then all of a sudden, around 1984 
it seemed like it died out. All the good 
bands totally died out, then there was this 
big surge of crossover stuff, and we 
looked around and the music we loved 
totally turned to shit. Like, COC were the 
biggest band in the country, and me and 
Ray were like, "Fuck that! We want to 
start an inspiring band!". 









Isn't "crossover" "new school hardcore" 
today, couldn't COC be Snapcase, couldn't 
SSD, DYS, Minor Threat be Youth of Today, 
Chain of Strength and Bold? This metal 
hardcore back in '87, is it really so far away 
from the metal hardcore today? History has its 
strange ways of repeating itself. Also the 
grungey emo hardcore had its equivalent, 
"What we're doing is better than going soft or 
turning metal." (Richie YOT, Thrasher no v. 87 
p. 96, emphasis added) 

Even though the wornout MRR rhetoric 
tried to make all bands sound like carbon 
copies of YOT, there was differences, that's a 
part of the old school? but if you put it 






together, the package, the overall picture, 
audible afid visible links these bands together. 
Bands like Hard Stance and Wide Awake are 
different, Chain of Strength and Against The 
Wall, Youth Of Today or Release, but there is 
something that links them together, and this 
something, impossible to point down, is what 
we're looking for here, and finally also what 
Mouthpiece was out to resurrect, and this 
makes it possible also to speak of old school in 
1996. The term "old school" is an after- the- 
fact term so to speak, obviously SSD did not 
call themselves old school hardcore, but after 
their split up it was possible to identify their 
style of hardcore as "old school". This 
possibility of identifying is of importance here, 
it means that are you given the possibility to 
identify it. The possibility. The skill, the 
learning, you can have the possibility to 
perform your acquired skill or learning. Once 
again this leads us back to the more literal 
meaning of the the word school in old school, 
to learn one has to read, but also, to remember, 
and in order to memorize; one has to write. To 
sign the "dotted line". This writing may be 
bracketed, interrupted, and ridiculed, but it is 
nevertheless an imperative, and this allows for 
an understanding of old school straight edge 
hardcore that is not based on banal historicism 
that wants to deal with something dead and 
gone, and reduced to MRRs derogatory and 
simplifying criticism of straight edge hardcore. 
The strand of good solid hardcore may be 
broken and molested, but it will always live 
on. Even though when it comes back, it may 
only haunt you as a ghost. 

Peter Amdam( spring 1996) 







Cbucul Respqhse Recobbs Peesehts: 



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STRAIGHT EDGE HARDCORE 12" COMPILATION 






SroJraelPcSSS* 



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OVEB THE LIKE / HALFMAST / QHWABD / 

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This interview was 

conducted through the 
mail with Tim McMahon, 
in february 1996. The 
answers were written 
down by him on 

february 22 and 23, 
Tim had the the 

sincerity and 

commitment to answer 

the same 







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Mouthpiece. We felt that 
Control was a generic run 
of the mill name, that's 
why we changed it. Once 
Mouthpiece started in 1990, 
we became a serious band 
that tried to set goals for 
ourselves. We got rid of 
our guitarist Pat because 
he wasn't really into the 






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Tun, Matt, Sean, Jason, 
Chris, and Dan. 

Would it be fair to 
say that you're trying 



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myself, started in 1989. It 

was basically the same as 

Mouthpiece , just different 

songs. Jason and I wanted 

to do a straight edge 

hardcore band, so we found 

members and did Control. 

Shortly after Control 

started, Pete left the band 

due to conflicts with an 

other member . Control 

played about three or four 

shows, then we decided to 

write all new songs and 

change our name to 

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• • • 



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while, Dave decided that 
being straight edge wasn't 
for him. We kicked Dave 
out, got Sean to play bass 
and around the same time, 
Pete R. left the band to 
move to Boston. We then got 
Matt to take Pete's place. 
The final Mouthpiece line 
up was Matt- guitar, Chris- 
guitar, Sean- bass, Jason- 
drums, Tim- vocals. To this 
day only the past and 
present members who are 
still straight edge and 
still into hardcore are: 















» ■ 



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bring back or 
a certain 

spirit? 

When Mouthpiece first 
started we weren't trying 
to really - bring anything 
back. We started at a time 
when most of the old bands 
were still around, we just 
wanted to play straight 
edge hardcore . What 

happened was all of the old 
bands either broke up or 
lost their edge shortly 
after we got together. We 
wanted to keep the feeling, 
the music, the style, the 
energy, and the spirit 
alive. At a time when the 
straight edge scene was 
nearly no more and hardcore 
shows were happening less 
and less, Mouthpiece came 
out playing full on 
straight edge hardcore . 
Instead of trying to be 
slow and heavy we wanted to 
play fast and energetic 
hardcore with a straight 
edge in your face attitude. 
We wanted packed up front 
crowds , stage diving , 

finger pointing singalongs. 
We wanted the hardcore 
scene to be what it was 
when we first got into it. 
We didn't set out to bring 
it back when we first 
started, but that's what it 
turned into. 

To be more specific, 
in an early interview 
in Indacslon you 

talked about being a 
mouthpiece for "what ' s 
going down the drain" . 
What was going "down 
the drain" and how 

successful do you 

think Mouthpiece has 
been as a 

"spokesperson" and 

representative for 

this? 

I wanted to bring things 
back into the light that 
seemed to be getting 
forgotten. Kids were losing 
their edge and thinking 
they were cool because of 
it. I wanted to say that I 
still care and nothing has 

changed in me. There was 
very~Iittle unity, "very "few" 
shows • and there were 
basically very few bands. 



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After we had been together 
for about a year, kids 
started to catch on. More 
and more kids were echoing 
to shows with Xs on their 
hands, more bands were 
starting, shows were 
happening pretty 

frequently , things seemed 
to be changing for the 
better. I'd like to think 
that we had a lot to do 
with the positive changes 
going on within our scene, 
but we weren't doing it 
alone. There were other 
kids that cared and 
possibly because of our 
growing popularity , 
becoming more vocal about 
changing the scene 
positively. I feel like our 
work paid off, but at the 
same time, we didn't really 
bring back what we had, vie 
made something new out of 
what we had left over. The 
scene will probably never 
be the same to me as it was 
eight or nine years ago, it 
may get better, it may get 
worse, I know I'll continue 
to do my part to keep the 
feeling I hold inside 
alive . 



What da you tfiink 
about the fact that 
almost no one is 
playing fast driving 
hardcore anymore , the 
dominance of metal and 
emo/ grunge? Do you see 
it change again? 
The hardcore scene 
musically today, makes me 
sick. I can honestly say I 
like only a small handful 
of bands around today. 
Metal is not hardcore and 
kids today see no 
difference. Today kids seem 
to be so caught up in 
what's in the music 
lyrically than what the 
music sounds like. I don't 
hate metal, I just hate the 
fact that kids can't see 
the difference between 
metal and hardcore. To me 
metal is boring, unergetic, 
slow, grindy bullshit , 
hardcore is the exact 
opposite* Bands like Slayer 
are great, but when I go to 
a hardcore show I want to 
dance , dive , singalong and 
just have fun- These metal 
hardcore bands seem so 
uninspiring and boring that 
all I tend to want to do 
when I see them is sit and 
watch. Some metalish 



hardcore bands can pull it 
off and move me, but 
overall I can ' t stand it . 
Kids today seem only to 
care about what • s going on 
today and would rather 
forget about what happened 
in the past. I remember 
when I got into hardcore 
ten years ago, all I 
wanted to do was to study 
what hardcore was all 
about. I bought new zines, 
old zines, new rcords, old 
records, I talked to kids 
that were into it before 
me, I wanted to know 
everything about what was 
taking over my life. Kids 
today buy the Victory 
collection and think that's 
all they need to know about 
hardcore, I have nothing 
against new kids in the 
scene , it * s the ones that 
say fuck yesterday, today 
is where it's at. I believe 
that if you don't know you 
past then how can you build 
a solid future. Even though 
there seems to be more 
metal bands and metal 
hardcore kids , there are 
some real hardcore kids 
left and some real hardcore 
kids just getting into the 
hardcore scene- I might go 
















as fax as to say that there 
are a few really good new 
hardcore bands around today 
that give me a feeling of 
hope and inspiration. We'll 
have to see what the future 
has in store for us. Our 
new seven inch has songs 
that reflect everything I'm 
talking about . Hardcore 
could completely change for 
the worse, but I won't give 
up, I'll do what I can to 
keep hardcore what I 
believe it should be. 

What bands would you 

say influence 

Mouthpiece ' s sound? 

And what bands would 

you like to compare 

Mouthpiece with? 

As far as influencing our 

sound, it ' s no surprise 

that I ' 11 credit that to 

Chain of Strength. When vas 

first started writing 

Mouthpiece songs , we based 

our formula on the first 

Chain of Strength seven 

inch, fast, powerful, 

simple and inspirational . 

We didn ' t try to copy their 

songs, just follow thw same 

song writing formula. Other 

than Chain, bands like 

Youth of Today, Judge, 

Gorilla Biscuits, No For An 

Answer, Bold, Insted and 

bands in that vein inspired 

us and our sound. Our 

newest seven inch "Face 

Tomorrow" , shows our 

influences from bands like 

Dag Nasty and Bl'ast!, that 

we haven ^t really exposed 

before . It ' s not that -we 

haven ' t always liked those 

bands, but now it comes out 

in our newer music. 

Are you doing any 
covers besides 

n Straight Edge 

Revenge " and " Open 











Up"? Why do you cover 
these two songs? Does 
anyone still care 
about DYS and Project 
X? 

Once in a while we'll do 
"True Till Death" by Chain 
or "Together" by Youth of 
Today, we also did "Blood 
Stains" by Agent Orange a 
couple of times. As for 
"Open Up" and "SXE 
Revenge", we play those 
songs when people ask for 
them. We started doing "SXE 
Revenge" when we first 
started, kids knew we did 
it and often asked us to 
play it. We did "Open Up" 
because DYS was a great 
band and "Open Up" is a 
cool song , it ' s just that 
simple. Most kids do care 
when we play "SXE Revenge" 
and some care when we play 
"Open Up", but a lot of 
kids seemed to learn "Open 
Up" from us recording it 
for our record. I guess in 
a way by us covering these 
old songs, it helps new 
kids become familiar and 
interested in the bands 
that originally played 
those songs. 













In relation to 
last question, do 
think that you are 
indulging in an 
unhealthy appreciation 




p: T. Bergman 



of the past and are 
propagating a turn 
away from the 
politically more 

urgent themes in 
hardcore today as 
certain critics will 
have it? 

Indulging in an unhealthy 
appreciation of the past? 
That ' s ridiculous , if it 
wasn't for the past, we 
would have nothing that ws 
have today, you take of 
what you ' ve learned f rom 
the past and try to mold a 
better future . It ' s not iry 
fault that all of my 
favorite bands existed 10 
years ago. As far as I'm 
concerned, bands haven ' t 
been playing hardcore as 
well as they did in the 
past. If you can't 
appreciate the new bands, 
there ' s always tons of old 
bands. Some people may 
believe that that I'm just 
worshipping the past, but I 
honestly don't give two 
shits what people think if 
they're going to make 
statements like that. As 
for the importance 
political issues that 
ignore with my lyrics, 
write about what I feel 
important to me and what 
directly affects myself , 
I'm not going to write 
about the government and my 





of 

I 

I 

is 








country ' s political 

(problems because some 14 

year old shit head thinks *I 

should . I'll leave that to 

bands that want to sing 

about that kind of stuff. 

If somebody wants to 

critique the importance of 

|my lyrics f they should do 

it to somebody else because 

I ' m not going to change 

iwhat I write about for 

anybody. 






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fan of Youth of 

Today... have you seen 
them live and what 
Youth of Today songs 
that inspire you the 
most? 

As hard as it is to say 
this, I've never seen Youth 
Of Today, unless you want 
to count their reunion show 
they played in Trenton, NJ 
with Sick Of It All at City 
Gardens in 1994. It's not 
that I wasn't around when 
they were playing , it ' s 
just that I was young and 
had no friends that drove. 
YOT played shows fairly 
close to me, but I had no 
way of getting to see them. 
I was just to young to go 
where ever I wanted when 
ever I wanted. . . I did get 
to see a lot of great 
bands, but unfortunately 
YOT was not one of them. I 
had one chance to see YOT, 
but my ride that agreed to 
take me, never showed up. I 
waited at my front door for 
hours , but my ride was a DJ ^ 
at the club they played and 
had been running late, so 
he left without picking me 
up. I saw YOT do a 6 song 
reunion show and it was 
probably one of the coolest 
things I have ever 

experienced, it only left 
me wanting more and feeling 
depressed that I'd probably 
never see a band that good 
again. As far as I'm 



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concerned, YOT is the best 
band that ever existed. 
They did so much for the 
straight edge hardcore 
scene and took so much 
shit. They are an 

influential band to say the 
least. If I had to narrow 
it down, my favorite songs 
from YOT would have to be 
"Flame Still Burns " , "We 
Just Might" , "Stabbed In 
The Back", "Make A Change" 
and "Together". 



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In an interview xn 
Anti-Matter you got 

somewhat reproached 

for using straight 

edge "cliches" in 

interviews etc. It 

this a criticism that 
is common, does 

criticism of this kind 
bother you? It seems 
you haven't stopped 

using them, what will 
be your defense for 
still saying things 

like "True Till 

Death" , "Holding On 

Strong" etc? 
I have gotten some slack 
for using the so called 
" straight edge cliches " , 
but it hasn't been anything 
serious. I use these 
cliches because I ' ve been 
hearing them so long and 
they just get stuck in my 
head.. All they really are 
is cool phrases that sum 
how I feel. I realize that 
they have been used 
forever, but I'm not trying 
to be clever or original 
when I say "True Till 
Death " . It ' s j ust a simple 
way to express how you 
feel. 



rumours 

that 

been 

parts 

"Vegan 

and 

the 

edge . 

does 

some 

also 

song 



Reports and 

have it 

Mouthpiece has 

slagged off by 
of the militant 
Edge" scene, 

particulary 
Syracuse vegan 
Is this true, 
there exist 

hostility? I ' ve 
heard that the 
"What Was Said" partly 
refers to this? 
I have had letters written 
to me, kids confronting me 
and rumours started about 
me through all of this 
"Vegan Edge " bullshit . I 
have nothing against 

vegans, after all I am a 
vegetarian and have been 
for the past five years. I 
completely support animal 
rights and the education of 
people about the harmful 
effects meat can have on 
the body. What I don't 
support is making threats 
and violent actions to 
scare and intimidate non- 
vegans /vegetarians into 
becoming educated. I 
consider education the 
answer , not violence and 



W» * - m 



p (this side and opposite): Tract HJ 



W _T7r,* 



intimidation. Some vegan kids say that I don't 
know what Hardline is about and shouldn't make 
statements about stuff I know nothing about. I 
feel as if I have read enough about Hardline to 
judge it and talk down on it. I have had a kid 
write me letters saying I was an evil devil 
because I wore sneakers that had leather on 
them. The kid said that when the vegan 
revolution came, I would be taken out. Bullshit 
like that isn't going to change anything, only 
push people further away from what you're trying 
to accomplish. As far as any direct 
confrontations, the only one I had was in 
Syracuse, NY. The kid that confronted me wasn't 
from Syracuse, but he wanted to tell me that 
"What Was Said" was a stupid song and that I 
knew nothing about Hardline. We sort of talked 
things out, but who knows what that kid went on 
and told his friends or put in fanzines. I don't 
care, I know where I stand and that's all I need 
to know. 

How do you feel about the fact that a 
zinc like this is being done? 

I feel flattered, it's not every day that 
someone dedicates a fanzine to Mouthpiece. It's 
nice to see some one that appreciates what we 
are trying to do and not just criticising. I've 
tried so hard to accomplish things with this 
band and it seems like most kids don't respect 
what I'm saying. For someone to stand in our 
defense, it just feels really good. 

Name your all time favourite 7" and 
favourite 12" . 

Favorite seven inch would have to be Chain Of 
Strength "True Till Death", favorite LP would 
undoubtly have to be Youth Of Today "We're Not 
In This Alone". Those two records are 
documentation of my life. Every song on those 
records is so powerful and inspiring, I can't 
say enough good things about those records. 

Do you consider Mouthpiece to be an "old 
school" band? What's your definition of 
old school straight edge hardcore? 

This is a really hard thing to say. I'd probably 
say that we * re not necessarily old school as a 
band because we ' ve only been around for 6 years . 
To some kids we could be considered old school, 
but for me who has been into hardcore for about 
10 years. Mouthpiece is not old school. We do 
play hardcore that could be considered old 
school style, but we're a band that started in 
the 90s, how old school is anything of the 90s? 
We are old school in our music, influences, 
style, and most of the members have been 
involved in hardcore for a long time, but as a 
band we're some where between old school and new 
school. We're middle school hardcore perhaps. 
For me old school hardcore is 1980 through 1985, 
bands like Minor Threat, The Faith, SSD, Last 
Rights, DYS, Negative Approach, Black Flag and 
The Bad Brains are old school hardcore. Youth Of 
Today, Bold, Insted, bands like that were around 
when I was just getting into hardcore, therefore 
I never really looked at them as old school. Old 
school were the bands that started it all, they 
were the pioneers of hardcore. I guess it 
depends on when you got into hardcore and what 
your personal interpretation of old school is. 







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far there have been no colored vinyl. 
Look for limited edition colored vinyl 
for the LP in ttfe future. Face 
Tomorrow seven inch: there are 500 
limited edition clear vinyl 1995 
siammer tour pressings. Each tour 
pressing has hand stamped labels that 
say "Mouthpiece summer tour ' 95 XXX" 
and they also have a New Age Records 
stamp on the other side. The first 50 
tour pressings that we sold had the 
"Face Tomorrow" title centered under 
the front cover photo, the rest had 
"Face Tomorrow" title plush with the 
left side. There are also 50 that New 
Age kept exclusively for mail order, 
these records have a different stamp 
on them that says "Increase the 
grease". We designed and copied all of 
the covers and lyric sheets for all 
500 copies of that tour pressing. 

Any last words you want to 
"carve into our heads"? 

I want to sincerely thank Peter Aindam 
and Peter Hoeren for doing this 
fanzine and supporting Mouthpiece with 
such an enthusiasm. Your support means 
more to me than you could ever know. I 
want to thank all the kids that have 
bought our records and gone to our 
shows over the past six years. I think 
this interview will give everyone who 
didn't know what Mouthpiece was about 
a clear representation and to those 
who did know what we were about, this 
is just another way to let you know 
where I'm coming from. Everyone please 
keep all eyes and ears open for news 
on my new band you ' 11 be hearing a lot 
about us in due time. For those who 
will continue to doubt my sincerity 
and talk their shit, we'll see who's 
still there in the end. Thank you and 
good night. 

. . . Tim XXX 






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FANZINES reviewed by Peter 
Hoeren 



Against the Stream # 1 

This used to be called 
Unity, it was and it still 
is a promotion magazine for 
Lost& Found Records and M. 
A. D- if you ask me. 
Hardcore is more than 
buying the Lost& Found 
collection. Not much 
potential here, most of the 
interviews almost bored me 
to death. It comes with a 
comp. CD which includes the 
Mouthpiece song Left of You 
that is same as the one on 
their latest 7" on New Age. 
(Rainer Knabben, Putt 12, 
42781 Haan, Ge rmany ) 



Over the Edge # 4 

Like Against the Stream 
this is boring. The 
interviews are not in 
depth. This issue features; 
Misfits, Snapcase, Roger 
Miret, Tree, Dead Stool 
Pigeon. There's not much to 
say except that they don't 
really know what hardcore 
is about. Thumbs down. 
( Mad Marc, Hagelbergerstr . 
48, 10965 Berlin, Germany) 



Hardware # 7 



Finally, a ' 2ine that I 
like. Nice layouts, plenty 
of columns, letters 
record/zine reviews, show 



7&*>- 



reviews , scene 
all over the 
pictures 
interviews 
rule. This 
Cro Mags, 
of it All. 
reading. It' s 
One of the best 



reports from 

world, great 

and well done 

make this zine 

issue contains ; 

Leeway and Sick 

64 pages full on 

all there. 

zines ever. 



A hard working effort, 
(David Koenig, 216 
Munsell Ave, Linden, 
07036- 4426, USA) 



Rectify "How We Feel" 7" 

Finally I am starting to 
feel proud of the norwegian 
hardcore scene again . 
Rectifys debut is definetly 
a sign that says the tide 
is turning. This was 
originally intended only as 
L i a demo, but Crucial 
k Response liked the 
recordings so much that 
they wanted it on vinyl 
straightaway. Even though 
this is a young and new 
band they dish out some 
solid hardcore and proves 
that they rather listen to 
Bold and YOT than any of 
those metal bands kids eat 
up these days. 4 songs, all 
of them in a Chain/ 
Mouthpiece vein of hardcore 
even though a bit faster 
and rougher. Fast , 
viscious, and with and 
intense and simple song 
structure. Check out the 
brutal Youth Crew back ups, 
especially Our Virtues ' 
pile- on friendly "Free 
from poison" chant. The 
songs are short and ends 
before you really notice 
it, li&e the early 
Outspoken songs . Inspiring 
and to the point lyrics, 
first and foremost about 
straight edge, whereas the 
last song is a somewhat 
pmore enigmatic Triumph (n<j£ 
the bike!). The sound 
quality could have been 
better, but it's still alot 
better than the Third Party 
records and it's bassy 
enough. Good work guys. 
(Crucial Response Records) 

Peter Amdam 



Rectify new 7"ep 



Thought 

preview 

record 

here 

recorded. 

Rectify 



we'd sneak in a 

of the new Rectify 

in the last minute 

as it is just 

And as expected, 

delievers solid 




i 



hardcore, fast, furious and 
clean cut. The Chain 
influence is still very 
present, especially on the 
first song which has an 
opening similar to Chain ' s 
Impact. Aside from that you 
can clearly hear Bold and 
Side By Sides influence on 
Espens songwriting and Kims 
pounding. This time, the 
recordings are even better 
and posesses an intensity 
that is hard to match. All 
the lyrics has a "stabbed 
in the back" theme to it, 
which is quite uncanny as 
this band seems to be 
history now. They will be 
sadly missed, one of the 
best bands out of Europe, 
ever. 

( Crucial Response Records ) 
^^^^^^_ Peter A mdam 

RECTIFY 




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Floorpunch "Goal 
Stand" demo 



Line 



While the new breed of old 
style sounding bands 
around Third Party Records 
tend to suffer from bad 
production and sloppy 
recordings Floorpunch is a 
band that has got it 
right. The musicianship is 
thight as hell, the 
production is clean and 
powerful and it's maybe 
the closest thing to a 
proper ■ 8 8 release I ■ ve 
heard in ages. From the 
imagery on cover and ads 
(Xs, Champion hoods, Nike) 
to the music and lyrics 
this is pure Youth Crew 
style hardcore. The 
obvious points of 
reference is the Judge 7" 
and Break Down The Walls 
period YOT, Floorpunch 
also covers Thinking 
Straight live and it fits 
perfectly their style of 
hardcore. Somehow, ' don't 
ask me why, I also keep 
thinking about the old 
Powerhouse demo when I 
listen to this. 



<• 

X 




This demo is complete with 
an awesome intro in the 
best (bust! ) New Jersey 
style- Release, Enuf - and 
speaking of Release- Chris 
Zusi's on guitar, and 
their name... you 
know( check out the first 
Release 7" if you don't). 
Lyricwise this is full of 
golden moments and the 
back- ups simply 
rules (check out the 
M Go!"s). This one is on 
the top of my play-list 
and this band deserves to 
get alot bigger. But I 
guess alot of "innovative" 
and "clever" minds out 
there will try to prevent 
that. They're recording a 
for In My Blood now and 
it should be the single of 
the year. This rules. A 
pumping f loorpacker . 
(In My Blood Records, c/o 
Brett Beach, 467 Valley 
St., Apt. 7D, Maplewood, 
NJ 07040, USA) 

Peter Amdam 



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Straight Edge As Fuck part 
II comp. CD 

Has Desperate Fight Records 
gone insane? Do they have 
some mad obsession to put 
out bad records? Wow, 
Desperate Fight has been 
going downhill for a while 
now and with this release 
it just picks up speed. A 
lousy cover, boring bands, 
only Refused and Seperation 
manage to hold my attention 
in a way. Final Exit is 
trying to do old school 
hardcore but it is without 
any spirit. C'mon, do you 
really think people will 
you serious with lyrics 
like "sing along"?! All the 
other bands are not even 
worth mentioning . Someone 
should stop Desperate Fight 
before it's too late. 
( Desperate Fight Records , 
Kemigrand 1, 907 31 Ume&, 
Sweden. ) 

Peter Hoeren 



Plagued 
Forget " 



With 



Rage M I Won ' t 



Let me tell ya, I'm 
definetly regaining some 
faith in the New York state 
scene here, because here is 
another awesome band from 
this ^rea. Forget about 
Quicksand, this " is real 
hardcore with plenty of 
Chain and YOT influences. 
The lyrics deal with 
straight edge and 
commitment to the scene. 
This 7" is soon to be a 
classic in SEHC. Pick this 
one up and dance hard to 
it 1 ( Third Party Records , 
21 Nancy Ln. , Amherst, NY 
14228) 



- ' ^1 




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Records That Words Carved 
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New Records by: 
Doughnuts , Mer auder , Liar , 
Turmoil, Bloodlet, Into 
Another , Ryker ' s , Approach 
To Concrete, Monster X, 
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This is the third release 
of Third Party and no let 
down at all. A breath of 
fresh air out of NY state. 
Well- intentioned lyrics- 
friendship, unity and 
positive outlook- team up 
with hardhitting and 
danceable music. They got 
slagged off by MRR and 
HeartAttack , so diehard 
fans of classic SEHC should 
take note. Watch out for 
the Fastbreak 7" on this 
label too, it's supposed to 
be another great ' release. 
(Third Party Records, 21 
Nancy Ln . , Amherst , NY 
14228) 

Peter Hoeren 



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Here is the complete discography of 
Mouthpiece reviewed. There is a last song 
by Mouthpiece recorded, it will come out 
on a Profile hardcore compilation LP 
featuring the bigger hardcore bands of the 
nineties- All the titles reviewed here is 
available from New Age, except for the 
Consequence sampler. Enjoy and try to make 
your collection a little bit more 
complete . 




MOUTHPIECE 'Face Tomorrow" 



The 
year, 



-I 




Finally, here it is 
most awaited 7" last 
to me at least- And it is 
no let down. Mouthpiece 
proves once again that they 
still are probably the best 
hardcore band around these 
days. After their Ip, one 
of the most important, if 
not the single most 
important , hardcore album 
of the nineties. Mouthpiece 
continues their crusade , 
carrying on the torch that 
seemed to die out around 
1990. This means that 
Mouthpiece delievers 
hardcore that links up to 
the glorious tradition of 
bands like Youth of Today, 
Wide Awake, Chain of 
Strength, and so on. And in 
a time when most "hardcore" 
records {like the Mean 
Season, Snapcase , etc ) 
leaves you empty, almost 
with a "is this what has 
been the most important 
thing the last 8 years of 
my life?" feeling. 
Mouthpiece ' s record makes 
you want to run around, 
point fingers, yell "go I" 
and stage dive in your own 
living room. Hard 
aggressive, fast 
driving , pure hardcore 
a message. No slow rock, no 
sad attempts at metal. It 
has 4 songs. The first one. 
With this regret, starts 
off with an opening very 
similar to DYS ' classic No 
Pain No Gain as a hidden 
point of reference. The 
song continues its 
monumental yet minimal 
journey in a slower True 
Till Death fashion. A 
simple repetetive structure 
that builds up to the two 
fast riffs where singer Tim 



•*r*& 



£S^&i^2$ McMahons screaming carries 

^ the songs intensity, his 

clean cut voice is not 

overplaying it . Thereby 

keeping it away from farse 

_ and "Ebullition 

~~~; last words- 

— - rebuild"- links 









strange enjambic 
next song; title 
Tomorrow . " I 
back and play 
won't accept 
become"- you 



land" . The 

"then I 

up in a 

way to the 

track Face 

won't sit 

the role, I 

what it has 

know that 






n - 




and 

and 

with 



they're really out to 
rebuild what is "going down 
the drain" to quote from an 
early Mouthpiece interview. 
Face Tomorrow is probably 
Mouthpiece's strongest song 
to date, wiT.h its trade 
mark fast beat ando 
machinelike precision. The 
excellent moshpart enacts 
the whole message of the 
song. This is catchy as 
hell, energetic and perfect 
for those pile- on sing 
alongs. It's a defense of 
good, classic hardcore the 
way it was supposed to be - 
"you can change the sound/ 
but you can't touch what's 
in my heart". The lyrics 
says it, the music does it. 
The first song on 
the flipside though. 
Cinder, doesn't quite live 
up to the standard 
Face Tomorrow 

Anyways , it ' s showing 
of Mouthpieces 
influences such as 
Bl'ast! and Dag Nasty. 
a slower more melodic 
number, well writen lyrics 
and with an intensity few 
bands share. By todays 
standard this song is a 
winner, but compared to the 
rest of the Mouthpiece 
oevre it doesn't quite 
stand out. Left Of You is 
an instant classic though. 
It ' s probably my favourite 




it 
nothing's changed in 
delivered with 

■**><, vigor , conviction 
persuasion that it 
out as nothing less 
last will, a statement 

purpose fulfilling 

promise screamed out on 
early song Still from 
first 7 H : 



I'm still here, and 
now you ' re gone 
say I ' m not cool 
because my feelings 
are too strong 



the 
the 
the 



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r 






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Then 


the 


line. 


most 


bands 



' 



4TV-- 







five 
when 
has 
expect a more 
disinterested 
downplaying the 
c ommitment , the 
words are shouted 
pounding rhytms 
Jammer and steady 
Chris Schuster: 



years 
one 
come 
or 



down 

from 

to 

less 



attitude 

youthful 

following 

upon the 

of Jason 

crunch of 



•■ ' "■" -'■ 



■ . 



that 
sets. 

some 
other 
early 

It's 




/ / 



I ' 11 take this with 
me till there's 
nothing left of me. 
you cant turn this 
around, you can't 
keep me down 
and when you're gone, 
I'll move on, I will 
continue. 

I am what's left of 
you. 

Mouthpiece is 

definetly what's left of 
the heyday of hardcore and 
even when they're gone 
theirs will be a legacy 
that won ' t wither away 
easily in the hearts of 
those who "haven't 

forgotten what hardcore is 
really about" . 

Peter Amdam 





Covers and labels for th 




e «iIorder<right> an d tour(left) editions of the Fa 



ce Tomorrow 7 " . 



MOUTHPIECE "Abandon " on 
Consequence Records comp. 
12" "It's for Life" 

The long wait between the 
first Mouthpiece 7" and the 
debut album was somewhat 
eased by this compilation 
track which is, needless to 
say, the standout on this 
record. To this day I think 
that the layout on their 
page in the booklet best 
captures my graphich idea 
of Mouthpiece. The serenity 
of it all brings to mind 
Chain with their "dye me 
clean" appearance as one 
Flipside reviewer once 
mockingly wrote. But to me. 



U\ZW 







1 





MOUTHPIECE "What Was Said 
LP 



I don ' t know why 
edge kids today 
about Mouthpiece . 
edge gone dull? 
break , listening 
is as 
beer. 



Crisis 

drinking a 

is playing hardcore 

the lines of a band 



straight 

complain 

Has the 

Gimme a 

to Earth 

lame as 

Mouthpiece 

along 

like 



Youth Of Today. Mouthpiece 
does of course have a sound 
of their own but you can 
hear their influences like 
Chain and Gorilla Biscuits. 
The title song What Was Said 
reminds me a little bit of 
Inside Out. This song is 
supposedly about Earth 
Crisis and their "vegan 
revolution", but then again, 
you never know, it can also 
have a broader 
interpretation. What Remains 
is an incredible song that 
starts with a fast part and 
picks up speed towards the 
end. Sincerity is the theme 
for this song. Nothing There 
is about inflated egos. Hold 
Back is a re- recorded 
version of their song on the 
"Words To Live By..." 
compilation ep. The message 
of this song is that it is 
sometimes better to talk 
things out before using 
violence-but only sometimes 
if you ask me! (Hey, calm 
down tough guy . -ed . ) . Col umn 
is a very short song which I 
like a lot. It deals with 
barriers, sort of. Again is 
about losing friends. Gauge 
is written in an abstract 
way. One line goes "your 
life lies in your hands, 
dismantle this machine". A 
possible interpretation of 
this line could be that 
each single individual has a 
responsibility in society. 
Abandon, another re-recorded 
song, has a "stabbed in the 
back" theme to it. Strip the 
Threads is an emo-ish song 
that is against sexism and 
it's written in an abstract 
way. The 12" is recorded at 
Why Me? (who else) studios 
and the production and 
packaging is incredible . 
Esp. the front cover looks 
beautiful. In comparision to 
Strife Mouthpiece is more 
pure, and thus better 
regaining the spirit of true 
hardcore. This makes 
Mouthpiece easily the winner 
of the new breed of old 
style hardcore bands . New 
Jerseys pride!!! 

Peter Hoeren 



being mocked by someone who 
8 has Pearl Jam or the 
Levelleres as fashion icons 
is more of a compliment 
than anything else. 
Abandon is a fast song with 
some cool 2nd guitar lines, 
that is something different 
but not at all overdone. 
The guitar work is also 
complete with pick- slides, 
i solid build-ups and 
everything. The mosh part 
is one of those crawling (if 
you can imagine a mosh pit) 
intermezzos, with no vocals 
like Bold used to do it, 
and it ends up in a last 
breathtaking fast 
as often is the 

r 





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Tims lyrics. Abandons last 
words begs for a rebuilding 
and a restrengthening to 
take place- "I've got to 
get away" . All in all this 
compilation track 

strengthened Mouthpiece ' s 
position as purveyors of 
straight edge cool. The 
song was later re-recorded 
for their lp and this song 
along with its line up 
changes anticipates the 
album that was recorded 
almost 2 y^ears later. 
As far as I know this 
record is now long out of 
print. 

Peter Amdam 













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MOUTHPIECE " Hold 
New Age Records 
"Words To Live By 
to Die for" 



•• . 









Back" on 
comp . 7 " 
. * . Words 



The first time I heard of 
Mouthpiece was when I got a 
letter together with Solid 
Foundation zine from a guy 
named Peter Reilly around 
Christmas time 1990, he 
mentioned his old band- 
Mouthpiece. As this fanzine 
was a cool one to say the 
least, the band name stuck. 
I saw the name around a few 
more times, always in a 
very straight edge 
connection, but I didn't 
get to hear it until a year 
later. I visited Peter 
Hoeren in Germany, I 
remember sitting in his 
room looking through 
fanzines and records. I was 
flipping through the second 
issue of Indecision and 
Peter shows me this New Age 

m 




compilation he just got. We 
had already talked about 
it ( the Mouthpiece cut ) 
beforehand and I knew I was 
a fan even though I hadn't 
even heard the band. The 
images from their interview 
in Indecision and their 
;page in the "Words To Live 

made an im- 

on me that still 

The clean looking 

the impeccable 

edge dress sense 

was fresh sight for 

at that time 







in 
By" comp 
press ion 
is here. 
logos, 
straight 
exposed 
sore eyes 



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there was almost no 
sxe bands around), 
seemed like this 
embodied the sense 
hardcore that I was 
still am attracted to 
underline it 
dedication on their 

reads: 

AN EXTRA SPECIAL 
THANX TO THOSE WHO 
STILL PURSUE THE 
CLEANEST, MOST 



• • • • 

Ullltll 







RIGHTEOUS FORM OF 
LIFE KNOWN TO MAN... 
STRAIGHTxEDGE. 

This was it. A band 
totally outspoken about 
straight edge, they looked 
the part and they definetly 
sounded the part. The fast 
music, • the fiercingi 
synchronized guitar- drum 
chugga- chugga effect that 
was soon to be a trademark 
for their style of 
hardcore . The " f olmularic " 
structure of the song; fast 
part- mosh part- fast part 
also got me going. At a 
time when grunge just had 
begun to ■\ '■ -infest the 



hardcore 
ridiculous 
called 
Mouthpiece 



with 



scene 

ideas of so 
"authencity" 
was a band not 
at all ashamed of their 
roots. Solid hardcore. A 
solid foundation, indeed. 

Peter Amdam 






;;; MOUTHPIECE s/t 7" 

• • ■ 

••■ Man, I have so much respect 
for this band. What Youth 
III of Today was doing in the 
III 80s, Mouthpiece is doing in 
III the 90s. ' The music is 
HZ simple with plenty of both 



Iimim..> Sheer energy reminiscent or 
• ^■■■•■Z!«? Chain Of Strength with 
Z!!!!!!?" j personal and intellegent 

lyrics to boot. I guess Can 
"*""Laiil_ We Win is r.bout 

relationships and I think 
everyone can get something 
out of this song. Still is 
about holding true . 
Distracted deals in some 



ways wirn Keeping up wit 
reality and Frame is about 
people wasting their lives 
on drugs and alcohol. Note: 
the repressing has 
different backccvers, 
inserts and labels. Hunt 
down for herb pressings if 
you are a diehard fan. 

Peter Hoeren 







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attentive gaze. Gazing into... nothing. As this very 
X is the repeated and close attention to... nothing. 
It's a cross, chi- asmus, it's a crossing over and at 
the same time a crossing out, a reversal and a 
prohibition. Crossing out something, or maybe 
nothing- the mark of an abstinence, an absence. 
Something that is not there anymore, it's only the 
memory of what never was there. A memorization, 
a remembering to... to forget. 

These points hidden in the pores of the skin, traces in a skin. Traces resisting what is not to come, yet at the same time 
anticipating what is to come. Another mark, another repetition, another X . Another X affirming a promise of what is 
to come, a further negation of what is not to come. Affirming negation. Waiting. Awaiting what is to come, namely 
nothing, or rather a repeated negation. Waiting... points de suspension... the three dots marking the graphic wait, 
catching breath, marked silence 1 . A striking similarity again with the black dots in the pores of the skin, an X and then 




X, the unknown, unamable, followed by anticipation, suspension, fading and increasing effort in the repeated 
close attention to nothing. Crossing over into nothing. TheX is the inversion, turning around, the turning point. It's a 
crossing over by crossing out. Yet crossing over into something else, the forbidden place. When the Teen Idles 
somewhere in California walk underaged into the club, the p'-ohibited space, the X as the mark of the contraband. 
Smuggling the contraband. The mark allowing, and at the same time prohibiting, entrance into the known, and at the 
same time unknown. Then the crossing of a continent, again crossing borders, again to mark the crossing over, the 
crossing out. To apply the mark of crossing out, crossing over. What remains of this singular event? Nothing, the 
actual crossing over is still unknown, the riddle of the X is not solved, and can't be solved. Yet, this singular event is 
inscribed in every repetition of the mark. These singular events are repeated, again, the crossing over, stepping into 
something- nothing. An inversion, a movement of the head, turning back, looking back/ forward. Is this, in the blink of 
an eye, a gaze into the "other night" Maurice Blanchot writes about, where "when everything has disappeared in the 
night, 'everything has disappeared' appears? This is the other night." 2 An invisible inscription of a past not known, 
repeating itself in the promise of a future, not known. Again like the three dots in writing, marking the pause, a 
gathering of thoughts yet at the same time, a dispersion, a fragmentation as is obvious from the very grapich form. This 
point of waiting, dispersion and gathering, pointing towards what is about to come, or doesn't come. Where writing ends 
itself. Followed by the unknown, the X. The X. The X. 

Yet another encounter with the material mark of precisely nothing. The significr signifying the nothingness of 
its own process of signification. The figure of non- sense. What is lacking sense, substance, no experience, the nothing 
of experience. Yet this very materiality, the X by the felt tipped marker. And the resisting of its own effacing, the 
remains, the dots of ink hiding in the pores of the skin, in the page of paper. An invisible resisting, invisible writing, 
writing non- sense, lack of meaning. Andrzej Warminski writes of this materiality: "the possibility of putting figures, 
words, markers, X's, in the place of a lack of meaning, putting something to see and to know where there is nothing to 
see or know- insofar as it is always possible... insofar as all figures transfers or substitutes the subject to it- is a non- 
sense or a nothing that is the material condition of all sense and figure. " 3 So there is an uncanny connection between 
the materiality and the resistance of the signifier, of Venture, of allegory, and this X on the back of a hand. The X as a 
marker of the unknown, the uninteresting,, the boring and the plain. Yet it has to make sense, it the condition of sense. 
And still it's a haunting riddle. A riddling X. And as a riddle, in essence impossible to solve. Yet this: "non- sense" as 
"the material condition of all sense and figure." 

There is a certain eeriness we have encountered here, this other night, this disappearance, nothingness, remains, 
remnants. And what about the remnants. Isn't there another assosication that is even more eerie here that we have tried to 
circumscribe. Isn't there death involved here. Ashes to ashes, and the these tiny particlies of ink, these dots hidden in the 
skin as the three points in writing marking suspension and a possible transgression of a limit, don't the dots have a 
strange resemblance to the black dust known as ashes? What is burned, what bridges are burned? The flame still burns. 
And coming back... 



Peter Amdam(summer 1996) 



• T am here of course referring to the grammatical use of the three dots- ...-in writing. 

2 Maurice Blanchot The Space of Literature p. 163, trans. Ann Smock, University of Nebraska Press 1982. Originally published as L'Espace 
Litteraire in France 1955 • 

3 Andrzej Warminski Readings in Interpretation. Hblderlin. Hegel, Heidegger. University of Minnesota Press. Minneapolis 1987.p. xl. 



















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